Carved Forms 2

Interlocking shapes in ivory, warm tan and rust are stacked across the picture, cut through by a single black vertical column. The forms read like constructed stone or cut wood, their edges crisp where the brush turned, their surfaces cross-hatched in fine, dragged passes.

Visual cues include forms, layers, and shapes. The palette is anchored by beige, black, and brown. The composition is vertical.

The cubism character makes Carved Forms 2 a natural fit for a bedroom. It also shows well in a dining room and hallway.

In commercial spaces, it suits boutique hotel and hotel. A vertical hang reads well above a sideboard or a narrow console.

Color-wise, the piece works with beige, black, brown, gray, and ivory. A cool atmosphere holds the surface together — the piece feels collected rather than charged.

Painted by hand in oil on stretched canvas by a single painter. Brushwork is varied across the canvas — broader passages laid in first, finer detail brought up over the dry underpainting.

The cubism character runs through the underpainting, while the geometric abstraction feel emerges in the surface passes. The painter closes the cycle on Carved Forms 2 with standard drying times and a clear final varnish, so the work is built to age well. The vertical stretch keys the canvas tighter at the long edges, which is what holds a tall format true on the wall.

A vertical canvas reads well above a narrow console, a slim sideboard, or beside a doorway — anywhere the eye needs a column of focus. Leave 30 cm or more of wall on each side; the work asks for room to breathe vertically as well as horizontally.

Carved Forms 2 suits a bedroom that is built around one piece rather than a collection. For Carved Forms 2, step back twice the canvas height once it’s hung — the brushwork resolves at that distance.